"Below the Line" illuminates the hidden labor of people who not only produce things that the television industry needs, such as a bit of content or a policy sound bite, but also produce themselves in the service of capital expansion. Vicki Mayer considers the work of television set assemblers, soft-core cameramen, reality-program casters, and public-access and cable commissioners in relation to the globalized economy of the television industry. She shows that these workers are increasingly engaged in professional and creative work, unsettling the industry's mythological account of itself as a business driven by auteurs, manned by an executive class, and created by the talented few. As Mayer demonstrates, the new television economy casts a wide net to exploit those excluded from these hierarchies. Meanwhile, television set assemblers in Brazil devise creative solutions to the problems of material production. Soft-core videographers, who sell televised content, develop their own modes of professionalism. Everyday people become casters, who commodify suitable participants for reality programs, or volunteers, who administer local cable television policies. These sponsors and regulators boost media industries' profits when they commodify and discipline their colleagues, their neighbors, and themselves. Mayer proposes that studies of production acknowledge the changing dynamics of labor to include production workers who identify themselves and their labor with the industry, even as their work remains undervalued or invisible.

""NBC: America's Network" makes a significant contribution to our understanding of American broadcasting. Hilmes makes a convincing case for the appropriateness of an examination of a single firm, NBC, to illuminate the major themes and events of American broadcast history. In addition, she adeptly synthesizes a strong set of individually-authored chapters on specific historical periods, controversies, and program genres into a coherent whole. The writing is concise and lively and the breadth and depth of the material makes this a exceptional work."--William Boddy, author of "New Media and Popular Imagination"
""NBC: America's Network" is an outstanding book about one network across US television history. Hilmes is an excellent editor who brings broad insights about the television industry to bear on this volume. The individual essays present different approaches and methods, and together provide an integrated history of NBC with analysis that respects the medium and the people that worked in it."--Mary Beth Haralovich, co-editor of "Television, History, and American Culture: Feminist Critical Essays."
"Filled with highly readable essays by the top scholars in the field, "NBC: America's Network "explores key, often watershed moments in the network's history to illuminate the central role broadcasting has played in constituting public discourse about what is-and what is not-in the public interest. A welcome addition to the history of broadcasting, and essential reading for anyone interested in the transformative role of radio and TV in modern life."--Susan J. Douglas, author of "Listening In: Radio and the American Imagination"

In print for more than seven decades as Broadcasting Yearbook and more recently, Broadcasting & Cable Yearbook, this directory has been the go-to source for station data and industry contacts in the US and Canadian television, radio and cable marketplace.

Introduction to Media Distribution offers a clear, direct and comprehensive overview of the entire film, television and new media distribution business, valuable to both students and professionals. In this book, author Scott Kirkpatrick draws from over a decade of personal experience in the distribution arena to explore what fuels the distribution process, and explains in real-world terms how the business works from beginning to end-not merely what happens to a film or television series after a distributor acquires it, but how distributors develop, pre-sell and broker deals on content before it even exists. Kirkpatrick covers deal structures, release strategies, acquisition approaches, rights sales, international co-productions, tax credits, audience research, global regulatory boards, and even 'behind closed doors' monetization practices. The book offers: A straightforward, clear and insightful approach to understanding the fundamental basics of how the global distribution marketplace works, and how distribution companies actually operate and create the content they need; An insider's analysis of all levels of the business with an emphasis on the independent scene, the root from where development in the industry grows; A comprehensive overview of how film and television markets and festivals work, and how buyers and sellers actually broker deals in the field; Detailed explanations of how each media right is defined and windowed to maximize potential revenue; A detailed overview of several major international territories, and how each operates within the context of the global media business; Guidance and advice from an industry expert on how one can initiate their professional career in the entertainment industry, applicable to individuals in all roles; A robust appendix containing in-depth studies of legal definitions, material delivery requirements, territory-by-territory financial projections, and more. An accompanying eResource offers template contracts, sample agreements, and further resources for download.

"Distribution Revolution" is a collection of interviews with leading film and TV professionals concerning the many ways that digital delivery systems are transforming the entertainment business. These interviews provide lively insider accounts from studio executives, distribution professionals, and creative talent of the tumultuous transformation of film and TV in the digital era. The first section features interviews with top executives at major Hollywood studios, providing a window into the big-picture concerns of media conglomerates with respect to changing business models, revenue streams, and audience behaviors. The second focuses on innovative enterprises that are providing path-breaking models for new modes of content creation, curation, and distribution--creatively meshing the strategies and practices of Hollywood and Silicon Valley. And the final section offers insights from creative talent whose professional practices, compensation, and everyday working conditions have been transformed over the past ten years. Taken together, these interviews demonstrate that virtually every aspect of the film and television businesses is being affected by the digital distribution revolution, a revolution that has likely just begun.
Interviewees include:
- Gary Newman, Chairman, 20th Century Fox Television
- Kelly Summers, Former Vice President, Global Business Development and New Media Strategy, Walt Disney Studios
- Thomas Gewecke, Chief Digital Officer and Executive Vice President, Strategy and Business Development, Warner Bros. Entertainment
- Ted Sarandos, Chief Content Officer, Netflix
- Felicia D. Henderson, Writer-Producer, "Soul Food," "Gossip Girl"
- Dick Wolf, Executive Producer and Creator, "Law & Order"

Television Brandcasting examines U. S. television's utility as a medium for branded storytelling. It investigates the current and historical role that television content, promotion, and hybrids of the two have played in disseminating brand messaging and influencing consumer decision-making. Juxtaposing the current period of transition with that of the 1950s-1960s, Jennifer Gillan outlines how in each era new technologies unsettled entrenched business models, an emergent viewing platform threatened to undermine an established one, and content providers worried over the behavior of once-dependable audiences. The anxieties led to storytelling, promotion, and advertising experiments, including the Disneyland series, embedded rock music videos in Ozzie & Harriet, credit sequence brand integration, Modern Family's parent company promotion episodes, second screen initiatives, and social TV experiments. Offering contemporary and classic examples from the American Broadcasting Company, Disney Channel, ABC Family, and Showtime, alongside series such as Bewitched, Leave it to Beaver, Laverne & Shirley, and Pretty Little Liars, individual chapters focus on brandcasting at the level of the television series, network schedule, "Blu-ray/DVD/Digital" combo pack, the promotional short, the cause marketing campaign, and across social media. In this follow-up to her successful previous book, Television and New Media: Must-Click TV, Gillan provides vital insights into television's role in the expansion of a brand-centric U.S. culture.

John Sinclair and Jospeh D. Straubhaar provide a comprehensive account of television production, distribution and reception in Spanish- and Portuguese-speaking Latin American countries, showing how Mexican and Brazilian programmes have dominated in the region, and placing regional output in the context of the global television industry.

The rise of right-wing broadcasting during the Cold War has been mostly forgotten today. But in the 1950s and '60s you could turn on your radio any time of the day and listen to diatribes against communism, civil rights, the United Nations, fluoridation, federal income tax, Social Security, or JFK, as well as hosannas praising Barry Goldwater and Jesus Christ. Half a century before the rise of Rush Limbaugh and Glenn Beck, these broadcasters bucked the FCC's public interest mandate and created an alternate universe of right-wing political coverage, anticommunist sermons, and pro-business bluster. A lively look back at this formative era, "What's Fair on the Air? "charts the rise and fall of four of the most prominent right-wing broadcasters: H. L. Hunt, Dan Smoot, Carl McIntire, and Billy James Hargis. By the 1970s, all four had been hamstrung by the Internal Revenue Service, the FCC's Fairness Doctrine, and the rise of a more effective conservative movement. But before losing their battle for the airwaves, Heather Hendershot reveals, they purveyed ideological notions that would eventually triumph, creating a potent brew of religion, politics, and dedication to free-market economics that paved the way for the rise of Ronald Reagan, the Moral Majority, Fox News, and the Tea Party.

Television is now a major area of study. This text is the first to outline the theories and approaches to the study of the medium in a systematic form for students. Written by leading international figures and including over twenty contributors, the book provides an accessible introduction to the subject's central debates, issues, and concerns. The book is divided into four sections--Forms of Knowledge, Audiences, Gender, and Race--and discusses many television shows including "Star Trek, Kung Fu, Buffy the Vampire Slayer, Xena the Warrior Princess, Sesame Street, "and Australian soaps.
The book's central analysis is supported by in-depth sidebars and discussions of key debates in the field of television studies. Fully illustrated, it includes selected reading guides and full bibliographies for students at all levels. "Television Studies "will become an essential and authoritative guide to understanding this increasingly important and popular field of study.

The culture of television in Indonesia began with its establishment in 1962 as a public broadcasting service. From that time, through the deregulation of television broadcasting in 1990 and the establishment of commercial channels, television can be understood, Philip Kitley argues, as a part of the New Order's national culture project, designed to legitimate an idealized Indonesian national cultural identity. But Professor Kitley suggests that it also has become a site for the contestation of elements of the New Order's cultural policies. Based on his studies, he further speculates on the increasingly significant role that television is destined to play as a site of cultural and political struggle.

The book focuses on radio and sound docufiction and docudrama through comparative analysis of the British and the Italian output from post war years to the 2010s, from both a historical and formal point of view. It sheds light on a rather neglected area of study providing a systematic survey of the development of the form and of its current status and perspectives, and at the same time constructing viable analytical tools that can be used to investigate individual productions. Considering the different docudramatic output in formats and quantity in the two countries, the book explores case studies from BBC Radio, which continue to air a high number of programmes with a great variety of formats and subgenres, and Italian case studies from both independent bodies and the Radio RAI, whose docudramatic production has declined since the late 1980s. Specifically, the study seeks to explain how radio language in its purely acoustic dimension allows access to unpredictable layers of truth often complementary, when not overtly alternative, to the documental truth of declaredly journalistic or scientific programmes. A well-researched resource for university students, scholars, researchers and educators in media, sociology of media and history. In-depth analysis of an original topic.

Bob Horton began his journalism career as a reporter for the Lubbock Avalanche Journal. Innate skill and good fortune took him from a modest Texas farm upbringing to Washington, DC, where he was thrown into the high-pressure world of the wire service, first as a correspondent for the Associated Press, and later for Reuters news agency. The stress was intense, but he found the rush to be intoxicating. From his early days covering the Dallas murder trial of Jack Ruby, through three colorful decades as a newsman, Horton often found himself witnessing history in the making. He covered the Pentagon during the early days of the Vietnam War, was on board a Navy ship in the Mediterranean awaiting Israel's expected attack on Egypt, was witness to the Watergate burglary trial, and attended a Beverly Hills church service with then President-elect Ronald Reagan and his wife Nancy. The success Horton enjoyed as a journalist mostly hid the dark side of his career: a gradual descent into alcoholism. Of Bulletins and Booze candidly recounts the unforgettable moments of Horton's career, as well as more than a few moments he would just as soon forget.

Examining work by novelists, filmmakers, TV producers and songwriters, this book uncovers the manner in which the radio – and the act of listening – has been written about for the past 100 years. Ever since the first public wireless broadcasts, people have been writing about the radio: often negatively, sometimes full of praise, but always with an eye and an ear to explain and offer an opinion about what they think they have heard. Novelists including Graham Greene, Agatha Christie, Evelyn Waugh, and James Joyce wrote about characters listening to this new medium with mixtures of delight, frustration, and despair. Clint Eastwood frightened moviegoers half to death in Play Misty for Me, but Lou Reed's ‘Rock & Roll’ said listening to a New York station had saved Jenny's life. Frasier showed the urbane side of broadcasting, whilst Good Morning, Vietnam exploded from the cinema screen with a raw energy all of its own. Queen thought that all the audience heard was ‘ga ga’, even as The Buggles said video had killed the radio star and Tom Petty and the Heartbreakers lamented ‘The Last DJ’. This book explores the cultural fascination with radio; the act of listening as a cultural expression – focusing on fiction, films and songs about radio. Martin Cooper, a broadcaster and academic, uses these movies, TV shows, songs, novels and more to tell a story of listening to the radio – as created by these contemporary writers, filmmakers, and musicians.

The Aesthetics of Nostalgia TV explores the aesthetic politics of nostalgia for 1950s and 60s America on contemporary television. Specifically, it looks at how nostalgic TV production design shapes and is shaped by larger historical discourses on gender and technological change, and America's perceived decline as a global power. Alex Bevan argues that the aesthetics of nostalgic TV tell stories of their own about historical decline and progress, and the place of the baby boomer television suburb in American national memory. She contests theories on nostalgia that see it as stagnating, regressive, or a reversion to outdated gender and racial politics, and the technophobic longing for a bygone era; and, instead, argues nostalgia is an important form of historical memory and vehicle for negotiating periods of historical transition. The book addresses how and why the shows construct the boomer era as a placeholder for gender, racial, technological, and declensionist discourses of the present. The book uses Mad Men (AMC, 2007-2015), Ugly Betty (ABC, 2006-2010), Desperate Housewives (ABC, 2004-2012), and film remakes of 1950s and 60s family sitcoms as primary case studies.

’n Bekroonde joernalis, Malvory Adams, skrik wakker in ’n hospitaalbed en wonder hoe hy daar beland het. Dit tref hom soos ’n tienpondhamer tussen die oë: Sy selfmoordpoging het misluk! ’n Bleddie “Samaritaan” het hom uit die kloue van die dood weggeruk.

Malvory se hartverskeurende lewensreis sleep jou enduit saam en laat jou by tye na jou asem snak.

Als is nie net swart en wit nie skets ’n prentjie van swaarkry, stryd, sukses, selfvernietiging, ’n dans met die dood en die lewe.

’n QR-kode word ook by Als is nie net swart en wit nie ingesluit van sy nuutste liedjie, “Hemel-Dal” asook ’n Engelse weergawe genaamd “Heaven’s Vale”.

This book makes a persuasive argument that the licence fee is no longer the right way to raise revenue for the BBC. While there was a case for this model when the only way to watch the BBC was through the ownership of a television, and there was no way to prevent anyone who owned a television from watching the BBC, technological developments have demolished this argument. Millennials consume more and more of their broadcast media through a tablet, computer or phone. Yet, non-payment of the licence fee now accounts for 10 per cent of all criminal convictions in the UK, so we may soon be in the invidious position where a majority of young people watch BBC programmes through devices that are not taxed, while older people who own a television but watch only ITV or Sky Sports are taxed and, in the case of non-compliance, subject to arrest. Those who support the continuation of the licence fee often do so using two arguments: that the BBC is vital for producing what has become known as 'public service broadcasting', and that the BBC produces news that is non-partisan together with unbiased coverage of current affairs.The authors of this book challenge both of these arguments and show that there are various ways in which the BBC could be made independent of the state and/or of compulsory funding.

The broadcasting industry's trade association, the National Association of Broadcasters (NAB), sought to sanitize television content via its self-regulatory document, the Television Code. The Code covered everything from the stories, images, and sounds of TV programs (no profanity, illicit sex and drinking, negative portrayals of family life and law enforcement officials, or irreverence for God and religion) to the allowable number of commercial minutes per hour of programming. It mandated that broadcasters make time for religious programming and discouraged them from charging for it. And it called for tasteful and accurate coverage of news, public events, and controversial issues. Using archival documents from the Federal Communications Commission, NBC, the NAB, and a television reformer, Senator William Benton, this book explores the run-up to the adoption of the 1952 Television Code from the perspectives of the government, TV viewers, local broadcasters, national networks, and the industry's trade association. Deborah L. Jaramillo analyzes the competing motives and agendas of each of these groups as she builds a convincing case that the NAB actually developed the Television Code to protect commercial television from reformers who wanted more educational programming, as well as from advocates of subscription television, an alternative distribution model to the commercial system. By agreeing to self-censor content that viewers, local stations, and politicians found objectionable, Jaramillo concludes, the NAB helped to ensure that commercial broadcast television would remain the dominant model for decades to come.

"An engaging, balanced and thoroughly researched history. It is often a moving and amusing tale containing plenty of mavericks and colourful episodes." (Lawrence James, The Times) Auntie's War is a love letter to radio. The British Broadcasting Corporation is a British institution unlike any other, and its story during the Second World War is also our story. This was Britain's first total war, engaging the whole nation, and the wireless played a crucial role in it. For the first time, news of the conflict reached every living room - sometimes almost as it happened; and at key moments: - Chamberlain's announcement of war - The Blitz - The D-Day landings - De Gaulle's broadcasts from exile - Churchill's fighting speeches Radio offered an incomparable tool for propaganda; it was how coded messages, both political and personal, were sent across Europe, and it was a means of sending less than truthful information to the enemy. Edward Stourton is a sharp-eyed, wry and affectionate companion on the BBC's wartime journey, investigating archives, diaries, letters and memoirs to examine what the BBC was and what it stood for. Auntie's War is an incomparable insight into why we have the broadcast culture we do today. A BBC RADIO 4: BOOK OF THE WEEK